Robert Volkmann

[Ilja]

The Volkmann piece that I'm particularly curious about is his brief Offertorium Osanna Domino Deo, since I've always felt his style or orchestral writing would combine with a choral contribution particularly well. I don't think it has been recorded yet. To be honest I don't really see much contrast between the symphonies, but they're both very melodious, well-crafted, and inspired pieces, and I come back to them at the regular.

The only one of his "bigger" pieces that I'm less than enthusiastic about is the C minor Konzertstück for Piano and Orchestra; the orchestral parts are gorgeous, as are the solo piano ones, but when he tries to combine them the result is a bit clunky. Although admittedly the recording that I have of it has Ponti in one of his less sensitive performances, which appears to have been recorded in a basement somewhere.

[John Boyer]

The only one of his "bigger" pieces that I'm less than enthusiastic about is the C minor Konzertstück for Piano and Orchestra...

One of these days we're going to agree with each other! I've got a good feeling about it!

Today, however, is not that day. True to form, the Konzertstuck is one of only two works by Volkmann that I like, the other being the Cello Concerto. As for the symphonies, the string quartets, the piano trios...Zzzz. It's as if you said to your iPhone, "Hey Siri!  Compose music in the style of a 19th century German composer," it's that bland and faceless, like Reinecke on a bad day.

But wait -- a point of agreement: the sound on that Ponti recording...indeed, all those Ponti recordings.  Like you said, it sounds like someone's basement.  What a pity they were made before Vox starting working with Marc Aubort & Joanna Nickrenz.  I remember when I first heard one of their collaborations.  It was the series of Chopin recordings they did with Abby Simon.  What a difference! I couldn't believe I was listening to a Vox LP. Suddenly they had Phillips/DG quality sound, albeit without the Phillips/DG quality pressing, but it was a step in the right direction.

[Ilja]

I've got a bottle of really rather decent Tokay in the fridge that I keep for that day of virtual high-fiving between us, John.

As to Volkmann, I regard most of his music as entertainment in its purest form; it doesn't really require much thought, and I can just enjoy it. Because of that it has its place even if it isn't in any way particularly deep music. I do rate it higher than Reinecke's, but I will readily admit that Reinecke's one of those composers who just refuses to "click" for me. I can't pin it down to any specific thing, so that's just my loss I guess.

[terry martyn]

I'm saddened at these put-downs of Volkmann.  Of course, I don't think he is a musical genius, but his ability to paint a satisfying musical picture virtually every time he composed an orchestral work puts him firmly on the subs bench for me.

[Ilja]

I don't consider it a put-down at all. Not every composer can, or should (!), be a barnstormer. Volkmann is a very good composer of immediately accessible, attractive music. Moreover, his music possesses an easy melodic fluidity that you don't see all that often; he reminds me of Brüll in that sense.

Such solid craftsmanship is often underrated, particularly in the snobbish world of art. But although I don't see his music as boring, I can understand why others do. It rarely surprises on a conceptual level (the aforementioned overture being the exception to some extent) and shows a certain stylistic inhibition. He's very much tied to his time and place, with all the pros and cons that implies.

[John Boyer]

I'm saddened at these put-downs of Volkmann. 

It's natural that there will be a variety of opinion about Volkmann or any other composer.  I do find his work dull, unlike Ilja, though there are exceptions, like the Konzertstuck -- which just happens to be the one that Ilja thinks is a misfire.  Go figure. Alan adores Draeseke, but I have little use for him.  I find Herzogenberg a major talent, superior to all but the best of Saint-Saens, but Mark doesn't see much in him.  So it goes.

One positive thing that these conversations do is force me to revisit things I haven't thought about much.  This is what I am doing now with Volkmann.  Sometimes I come away with a changed opinion.  It's not happening with Volkmann, alas.  Of the orchestral music only the Cello Concerto and Konzertstuck have given me any joy, while my traverse through the chamber music (four string quartets down, two more and two piano trios to go) has been a slog.  But it's worth trying.

[John Boyer]

Although admittedly the recording that I have of it has Ponti in one of his less sensitive performances...

We were wrong about Ponti and the recording of the Konzertstuck.  Having listened to it three times in the past two days, I suddenly notice the pianist is Jerome Rose. 

[Ilja]

Well, waddayaknow. And I've been caught out by the Vox+piano=Ponti assumption before. Thanks for the correction, and apologies to the late Mr. Ponti.

[eschiss1]

And Volkmann was also sometimes rather innovative, as with his 5th string quartet and his B-flat minor piano trio, of course...

[eschiss1]

Btw the first commercial recording of his piano sonata in ages is scheduled for release later this year, apparently...

[John Boyer]

March 13 on Naxos, according to Presto. The samples sound promising.

Still nothing listed on JPC.